Bertolt Brecht wrote plays that are gigantic in scale, plays that seemingly mock performance and people while somehow honoring their most precious parts. Brechts plays came to me when I found a copy of The Visions of Simone Machard (1942) on one of those book tables near Broadway and 72nd street. I had just moved to the city.
The idiosyncratic, dream-like plays of Rosemary Moore are not easy to define. They live just at the edge of realism, bordering on the elusive and almost surreal, creating an odd yet familiar vision.
Unlike nearly every playwright I know, Ben Gassman grew up in New York City. Till I was six I lived in central Queens, a neighborhood called Rego Park, he tells me. I remember getting stung by a bee on my ass on the wood floor in my panel-created room just off the kitchen in our apartment. But mostly I grew up in Eastern Queens, a neighborhood called Hollis Hills.
The paradox of American masculinity, as told through the iconic personas of Teddy Roosevelt and Elvis Presley, explodes on stage and screen in RoosevElvisthe TEAMs fiercely original multimedia production and their first show to premiere in the United States.